Baba, New Delhi, 2006

This man is left with another family by his own when he is five years old, in order to find a home for him and to provide an occupation. He serves his host family and becomes an integral part of it through his seventy years of service. As the head of the family tells me over dinner one night, 'Baba used to serve the family and now the family serves him.'

His name is Baba, meaning 'father.' He is treated as such and much more.

When photographing at a school in New Delhi, my eyes catch this most quiet man opening and closing the gate to the school, helping the teachers with their tasks now and then, giving the school an air of tradition. When asked to be photographed, he follows me without question to the street outside of the school. We find a white wall and then make his portrait as the sun strikes his face.

He has just met me and yet, in public and on the street, allows himself to be photographed without a single hint of discomfort, putting me at ease.

Two families watch as the portrait is made and then volunteer to have their portraits made. One portrait usually leads to another, such is the social nature of the work.

Humana People to People, Banganga, India, 2007

This is my last day of 2006 in Rajasthan and India for that matter. It is seven in the morning and the village is gathered early for this photographic session. Lenses have been changed and the equipment is ready. Two hours are spent making portraits, we are treated to the customary tea and head for the airport five hours away in New Delhi, about eight hours before flight time.

The people of this small village wear smiles on their faces, they are responding to the photography and to the circumstances behind today's events, yesterday's session. Up until today, all the villages are visited once and the project moves to the next location. What makes this different is what happens the day before.

Going back one day, we arrive at the end of the day for the last village, Banganga, Rajasthan. The girls are waiting and we make their portraits during the last two hours of a beautiful afternoon. Halfway through the session, I notice that the lens makes a strange noise. Looking through the front end of the lens, it is obvious to me that the shutter is broken. My mind goes back and forth and wonders if the lens has been broken since day one in India, three weeks before. With a pit in my stomach, the rest of the images are made using the smaller camera. After we finish, I instruct the Humana team that we will be coming back in the morning.

My translator tells me that he must leave tonight and does so, leaving me with our good driver Mr. Singh. We share our plan with the village, telling them that it is more important to me to make their portraits than to get back to New Delhi the night before my flight. This short conversation proves to cement our bond and form a relationship that to this day is without parallel in India for me.

The very next day, their portraits are made, we drive back to my room in New Delhi, throw everything into the luggage and drive to the airport, two hours before my flight. Upon arriving to the States, three rolls of film are taken to the photofinishing place, one from the very first day, one from the middle of the trip and one from the last day. They are all processed in one hour and all prove that the rest of the negatives will be fine. This is perhaps the best feeling experienced in my photographic life.

The portrait above is from that last day in Rajasthan, India in December, 2006.

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Humana People to People India, Boys, 2008

All the girls' schools are meeting under a tent, spending a day together sharing their experiences with the good people of Humana People to People India. They are playing games and singing songs, performing traditional dances and enjoying each others' company. Many portraits are made in between sets, while keeping a low profile so as to minimize any distraction. 

It is during one of these breaks from the photography that these boys come over to watch. 'Why not photograph them' they ask. My answer is to find a ledge and arrange them for their portraits. The girls continue with their songs while the boys compose themselves, all without a single word spoken, since all of the translators from Humana are busy with the day's activities. 

The owner of the home gives his permission for the portraits since his home has a wonderful space for the photography, with the necessary, sunlit white wall. Each boy walks over, stands next to me and then takes his place on the ledge. The sun is still pretty high and strong, testing their ability to remain calm for their portrait. The perform flawlessly and we get back to the tent to watch the girls dance. The boys have their time in front of the camera.

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Humana People to People India, 2008

We are looking at a smile three years in the making. This young woman is associated with the Humana People to People movement in India. Up until last year, she attends a foundation school for girls in her village. She is married now and has begun her own family. When we arrive last year to make portraits of the girls' school, she is missing. She has graduated from her classes into a marriage at a young age. Nonetheless, she joins us for a wonderful afternoon of photography and produces this smile for us. 

 'And as always in the question of development it is about promoting and preventing. Preventing the dehumanising of society, of institutions and of you and me. Promoting the humanization of mankind, the only art form that contains the seeds to the flowers of happiness for all. From black-white to all colours at random. From the struggle for liberation to the struggle for development.' 

From the charter of Humana People to People 

www.humana.org

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